Dracula Review – Luc Besson’s Passionate Revamp of the Timeless Gothic Tale is Absurd but Watchable
Perhaps there is no great enthusiasm for a new version of Dracula from Luc Besson, the French maestro for glossiness and bloat. Still, it has to be said: his richly designed romantic vampire tale displays creativity and style – and in all its Hammer-y cheesiness, it could be preferable compared with the recent, stately interpretation by Robert Eggers of Nosferatu. There are some very bizarre touches, including one shot that appears to show a geographic divide between France and Romania.
Waltz as a Witty Yet Careworn Priest Tracking the Undead
Christoph Waltz portrays a witty yet careworn cleric fighting vampires – I can’t believe he hasn’t played this character previously – who finds himself in Paris in 1889 during the centennial of the French Revolution. So does the malevolent vampire count, played by the body-horror veteran Caleb Landry Jones speaking in a twisted regional dialect reminiscent of Steve Carell’s Gru in the Despicable Me films. This is a part he seemed destined to play.
The Narrative: A Chronicle of Longing
The plot unfolds as follows: the count has traveled ceaselessly the earth in sorrow for 400 years since he became undead, a penalty for his faithless sorrow after the passing of his beloved Elisabeta (a movie debut role for Zoë Bleu, daughter of Rosanna Arquette). The count has looked tirelessly for a lady who could be the reincarnation of his departed beloved. As ill fortune would have it, the fortunate female turns out to be Mina (again played by Bleu), the demure fiancee of Dracula’s feeble property handler, Jonathan Harker (played by Ewens Abid), who just traveled to the count’s castle to discuss his property portfolio and the tiny painting of the winsome Mina drew the vampire’s attention.
The Filmmaker’s Approach and Humorous Style
Besson arranges Dracula’s flashback sequence of international journeys in various outrageous costumes skillfully, and he is not above providing some comedy moments reminiscent of Mel Brooks – like Dracula’s ongoing failed efforts to end his own life post-Elisabeta’s demise, along with absurd moments that occur when Dracula douses himself using a particular scent in historic Florence, which makes him irresistible to women. Ridiculous and watchable.
Dracula is available digitally beginning on the first of December and in disc format from December 22nd. It screens in Australian cinemas from 5 February 2026.
